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Journal articles on the topic 'Cultural cringe'

Author: Grafiati

Published: 19 February 2023

Last updated: 26 July 2025

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1

Hess, Linda M. "Cringe and Sympathy: The Comedy of Mental Illness in Flowers." Humanities 10, no. 4 (2021): 121. http://dx.doi.org/10.3390/h10040121.

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This article on brings together findings from humor studies, especially work on cringe comedy, and disability studies. It analyzes how Flowers uses elements of cringe to question societal norms of the “proper person” in connection to mental illness, but also how Flowers broadens the genre of cringe so that, at times, it becomes a cringe tragedy rather than a cringe comedy, thus taking seriously the pain of mental illness. As a third point, this analysis focuses on the way in which Flowers self-reflexively employs elements of narrativity to draw attention to the cultural constructedness and sto

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2

Kashima, Emiko S., Ruth Beatson, Leah Kaufmann, Sarah Branchflower, and Mathew D. Marques. "Mortality Salience and Cultural Cringe." Journal of Cross-Cultural Psychology 45, no. 10 (2014): 1534–48. http://dx.doi.org/10.1177/0022022114543521.

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Schwanebeck, Wieland. "Introduction to Painful Laughter: Media and Politics in the Age of Cringe." Humanities 10, no. 4 (2021): 123. http://dx.doi.org/10.3390/h10040123.

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This introduction to the Special Issue on cringe humour briefly traces the starting point of the contemporary cringe boom, and it looks into the roots of awkwardness as a cultural phenomenon in the 1960s. Moreover, the introduction argues for the cathartic potential of cringe humour in the context of sociopolitical issues, and briefly presents the subsequent articles.

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4

Kanzler, Katja. "The Cringe and the Sneer: Structures of Feeling in Veep." Humanities 10, no. 4 (2021): 114. http://dx.doi.org/10.3390/h10040114.

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This article approaches cringe comedy through the lens of its affectivity, of the somatic experiences through which it puts its audiences’ bodies, and it uses this as a point of departure to think about the genre’s cultural work. Based on the observation that no cringe comedy makes its viewers cringe for the whole duration of its storytelling, the article suggests that cringe comedies thrive on destabilizing and ambiguating the affective valence of their performances of embarrassment, constantly recalibrating or muddying the distance between viewer and characters. They are marked by tipping po

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Mersham, Gary. "The great South African cultural cringe!" Communicatio 13, no. 1 (1987): 26–30. http://dx.doi.org/10.1080/02500168708537658.

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Havas, Julia, and Maria Sulimma. "Through the Gaps of My Fingers: Genre, Femininity, and Cringe Aesthetics in Dramedy Television." Television & New Media 21, no. 1 (2018): 75–94. http://dx.doi.org/10.1177/1527476418777838.

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Concentrating on the series “Girls” (2012–2017), “Fleabag” (2016), and “Insecure” (2016–), this article examines the female-centered dramedy as a current genre of U.S.-American television culture with specific investments in gendered value hierarchies. The article explores the format’s dominant narrative and aesthetic practices with specific focus on prestige dramedy’s “cringe” aesthetics. Cringe is increasingly mobilized as a mode of political expression following the format’s privileging of female subjectivities. As such, cringe is tasked with negotiating the tensions between drama and comed

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7

Vasilyeva, Marina. "Cringe as an Ethical Kitsch and Practice of Distancing." Philosophical Literary Journal Logos 33, no. 5 (2023): 185–95. http://dx.doi.org/10.17323/0869-5377-2023-5-185-195.

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The author addresses the problem of defining and analyzing the features of the cringe as a specific modern phenomenon. The first thesis of the article is that the word cringe being clearly similar to other slang words in terms of meaning and practice of use, is not their synonym and expresses its own new concept, important for the current cultural situation. The author demonstrates the features of this situation discussing the specificity of cringe. In the article, cringe is considered as a special judgment about the action and experience of the Other, built on the existentialist grounds. The

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8

Tushar, Chauhan, and Priyanka Tiwari Dr. "CULTURAL CRINGE: STUDY ON BIAS TOWARDS WESTERN CULTURE." COMMUNİTY PRACTİTİONER 20, no. 08 (2023): 288–301. https://doi.org/10.5281/zenodo.8296776.

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<strong>Abstract</strong> Cultural cringe is an inherent inferiority complex in which people perceive their own culture as inferior. Cultural cringe is intricately linked with "cultural alienation," wherein a person devalues his or her own culture but is drawn towards the culture of the colonising nation. For Indians, it is the by-product of years of colonisation, popularly referred to as the Colonial Mentality. This is an exploratory research to study North Indians' bias towards western culture. It seeks to determine a) whether North Indians have a bias towards products of weste

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MacMahon, Deirdre. "Scotland at the Smithsonian: Beyond the Cultural Cringe?" Scottish Affairs 47 (First Serie, no. 1 (2004): 1–15. http://dx.doi.org/10.3366/scot.2004.0022.

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Regev, Yoel. "Cheburashka: Notes on the History of the Immanent Impossible." Philosophical Literary Journal Logos 33, no. 5 (2023): 197–211. http://dx.doi.org/10.17323/0869-5377-2023-5-197-211.

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The paper deals with the analyses of “cringe” as a specific affect which us crucial for understanding of the current cultural situation. “Cringe” is situated into the broad historic situation and connected to such categories as “beautiful” and “sublime”, and also with a figure of a double betrayal, which is central for current thought (for instance into the projects of Slavoj Žižek and Reza Negarestani). The central point of the analyses is the appearance of cringe in Dmitry Dyachenko’s Cheburashka (2023). Using the plastic-dynamic analysis based on the recent advances of coincidental theory e

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11

Schwanebeck, Wieland. "When the Community of Laughter Needed the Bathroom: Bridesmaids and the Limits of Cringe Comedy." Studies in American Humor 9, no. 2 (2023): 266–86. http://dx.doi.org/10.5325/studamerhumor.9.2.0266.

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ABSTRACT This article links the concept of the community of laughter to cringe comedy, which emphasizes embarrassment, awkwardness, and social isolation over the affirmative bonds of other, less pain-inducing branches of comedy. It uses the film Bridesmaids (2011) to investigate how cringe comedy refrains from celebrating communality and solidarity, exposing the fragility of female bonds in the context of class warfare. The film’s eloquent and cringeworthy set pieces isolate the main character from her potential “community of laughter” and set her on a trajectory that is often closer to the ar

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12

Feather, N. T. "Devaluing achievement within a culture: Measuring the cultural cringe." Australian Journal of Psychology 45, no. 3 (1993): 182–88. http://dx.doi.org/10.1080/00049539308259137.

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13

Jones-Berry, Stephanie. "Stereotypes and cultural cringe still keeping men out of nursing." Nursing Standard 30, no. 28 (2016): 12–13. http://dx.doi.org/10.7748/ns.30.28.12.s14.

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14

Curtis, Bruce. "The Performance-based Research Fund, gender and a cultural cringe." Globalisation, Societies and Education 14, no. 1 (2015): 87–109. http://dx.doi.org/10.1080/14767724.2014.996856.

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15

Wegner, Gesine. "“Kill the Puppies!”: Cringe Comedy and Disability Humor in the Live Performances of Laurence Clark." Humanities 10, no. 3 (2021): 105. http://dx.doi.org/10.3390/h10030105.

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Firmly rooted in disability activism, the emergence of disability studies in the 1980s took place at a time that also witnessed several disabled comedians and activists climb the stage both in the US and the UK. Considering these coinciding developments, it seems perhaps little surprising that disability studies scholarship has been engaged in the complex relationship between disability and humor from its very beginnings. However, the interplay between cringe (as a cultural phenomenon closely related to comedy) and disability has not received much attention within the field. This paper takes a

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Hecq, Dominique. "Flying up for Air: Australian Artists in Exile." Commonwealth Essays and Studies 22, no. 2 (2000): 35–45. http://dx.doi.org/10.4000/1249i.

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This article disputes the ‘Cultural Cringe’ argument often invoked in texts that tease out the reasons behind the expatriation of some artists at different points in time. It suggests a corollary between the biographical details of the artists considered and the Romantic myth of the artist as exile – a kind of identification at two removes.

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Ji, Yadong, and Benjamin R. Bates. "Measuring intercultural/international outgroup favoritism: comparing two measures of cultural cringe." Asian Journal of Communication 30, no. 2 (2020): 141–54. http://dx.doi.org/10.1080/01292986.2020.1738511.

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18

Walden, Daniel. "Introduction Australian Literature-From the “Cultural Cringe” to the Confident Future." Journal of Popular Culture 23, no. 2 (1989): 1–4. http://dx.doi.org/10.1111/j.0022-3840.1989.101524.x.

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19

Salvato, Nick. "Cringe Criticism: On Embarrassment and Tori Amos." Critical Inquiry 39, no. 4 (2013): 676–702. http://dx.doi.org/10.1086/671352.

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20

Scott, Dorothy. "Intensive family preservation programs: What are they?" Children Australia 19, no. 2 (1994): 19–26. http://dx.doi.org/10.1017/s1035077200003928.

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This paper outlines the basic characteristics of intensive family preservation programs which have very recently been introduced into the child welfare systems of most Australian States. Typically these programs have been used to prevent placement or to assist families whose children are being returned to their care. Highly intensive and with 24 hour availability these short-term services draw on a range of theoretical approaches and are delivered in the family's home and natural environment. It is argued that Australia should avoid both the ‘cultural cringe’ and the ‘Tall Poppy Syndrome’ in a

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21

Pickles, Katie. "Transnational History and Cultural Cringe: Some Issues for Consideration in New Zealand, Australia and Canada." History Compass 9, no. 9 (2011): 657–73. http://dx.doi.org/10.1111/j.1478-0542.2011.00794.x.

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22

Fitzpatrick, Peter. "After the Wave: Australian Drama since 1975." New Theatre Quarterly 2, no. 5 (1986): 54–67. http://dx.doi.org/10.1017/s0266464x00001913.

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THE PUBLICATION of Theatre Quarterly's feature on Australian theatre in its Summer 1977 number seemed at the time one of a number of tokens of the coming of age of ‘the new Australian drama’. It is probably a truer sign of maturity that the present revisiting of the subject offers a form of international recognition which, though still very welcome, seems now a less important and alluring prospect. Australia's cultural cringe – the over-dependence on the models and approval of the parent country which was one of our more notorious legacies of colonialism – is not as noticeable in the theatre t

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MATTAR, YASSER. "Popular cultural cringe: language as signifier of authenticity and quality in the Singaporean popular music market." Popular Music 28, no. 2 (2009): 179–95. http://dx.doi.org/10.1017/s0261143009001779.

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AbstractThis article looks at the popular music industry in Singapore and argues that there exists a ‘cultural cringe’ for domestic English-language music, which is considered as inferior to English-language music from Western countries. Singaporean consumers of popular music use the English language as a signifier of authenticity and consequently quality of musicians. Local musicians are deemed ‘inauthentic’ because consumers perceive the local variant of English spoken in Singapore is inferior to other variants of English spoken in Western countries. There is thus an underlying sub-text of a

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24

Willoughby, Louisa, Donna Starks, and Kerry Taylor-Leech. "Is the Cultural Cringe Alive and Kicking? Adolescent Mythscapes of Australian English in Queensland and Victoria." Australian Journal of Linguistics 33, no. 1 (2013): 31–50. http://dx.doi.org/10.1080/07268602.2013.787904.

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25

McDaniel, Michael. "Sharing Teaching Ideas: Not Just Another Theorem: A Cultural and Historical Event." Mathematics Teacher 96, no. 4 (2003): 282–84. http://dx.doi.org/10.5951/mt.96.4.0282.

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The typical student rarely gets a chance to hold an old, powerful piece of history. In mathematics, teachers have the opportunity to present just such museum pieces; and furthermore, the class can verify their truth. Too often, however, students cringe in the face of proof and thus miss their chance to appreciate the treasure. Mathematics teachers can impress these future doctors, lawyers, politicians, and journalists with some jewels of mathematics; and teachers do mathematics a disservice if they skimp on the presentation. Since students and teachers have the time, the intelligence, and the

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McDaniel, Michael. "Sharing Teaching Ideas: Not Just Another Theorem: A Cultural and Historical Event." Mathematics Teacher 96, no. 4 (2003): 282–84. http://dx.doi.org/10.5951/mt.96.4.0282.

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The typical student rarely gets a chance to hold an old, powerful piece of history. In mathematics, teachers have the opportunity to present just such museum pieces; and furthermore, the class can verify their truth. Too often, however, students cringe in the face of proof and thus miss their chance to appreciate the treasure. Mathematics teachers can impress these future doctors, lawyers, politicians, and journalists with some jewels of mathematics; and teachers do mathematics a disservice if they skimp on the presentation. Since students and teachers have the time, the intelligence, and the

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27

Cieślak, Magdalena. "Adaptation in the digital era: The case of Robert Zemeckis’ Beowulf." Journal of Adaptation in Film & Performance 14, no. 1 (2021): 41–51. http://dx.doi.org/10.1386/jafp_00041_1.

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From fidelity discourse, through medium specificity discourse, to intertextuality and remediation approach, adaptation studies have dynamically evolved and recently have responded with particular flexibility to the advent of the digital era. Even adaptations of classical literary texts, confronting the authority of their hypotexts, have daringly broken away from their fidelity constraints and ventured onto paths facilitated by the development of new media. This article discusses Robert Zemeckis’ 2007 adaptation of Beowulf and examines this film’s potential for illustrating the manifestations o

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28

Kortunov, Vadim V., and Natalya R. Saenko. "NEW MODES OF EMOTIONS IN MODERN CULTURE." Russian Studies in Culture and Society 6, no. 3 (2022): 53–67. http://dx.doi.org/10.12731/2576-9782-2022-3-53-67.

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The relevance of the study of the emergence of new affective states is related to the political and cultural context: global catastrophes, disillusionment with the idea of universal justice and good, doubt about the universality of humanism and Enlightenment ideas. The purpose of the study is to identify new modes of modern emotional culture (awkwardness, post-irony, new sincerity, cringe). Post-irony allows a person, while remaining in a gray moral zone, to express skepticism about the clarity and comprehensibility of the world, and the new sincerity provides tools for reassembling the world

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29

Sussman, Sally, and Tony Day. "Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance." Theatre Research International 22, no. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.

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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion

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Diskin-Holdaway, Chloé, and Paola Escudero. "Language Attitudes in Australia: Results from a Nationwide Survey." Languages 9, no. 6 (2024): 200. http://dx.doi.org/10.3390/languages9060200.

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Recent research on attitudes to Australian English (AusE) shows that there is a general increase in its acceptance, legitimacy, and endonormativity. However, a certain “cultural cringe” exists, particularly when “broad” AusE is seen as representative of the variety. A significant gap in the literature is how the perceptions and usage of AusE may change as the population becomes more diverse. This paper presents findings of an online survey of language attitudes towards AusE with 661 respondents across Australia, over a third of whom were born overseas. Overall, there is minimal evidence of a s

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Putri, Andi Adilah Maharani, Nela Erza, Rezki Ameliyah, and Abdul Haliq. "Pengaruh Media Sosial terhadap Kemampuan Berbahasa Indonesia di Kalangan Generasi Muda." Panthera : Jurnal Ilmiah Pendidikan Sains dan Terapan 5, no. 2 (2025): 133–42. https://doi.org/10.36312/panthera.v5i2.390.

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Language plays an important role as a fundamental communication system in social interaction and the formation of cultural identity. This study examines the impact of social media on the Indonesian language skills of the younger generation. The rapid emergence of social media, especially among teenagers, has significantly changed the use of Indonesian. Direct observation was conducted to analyze writings on social media and compare them with the Enhanced Spelling (EYD) guidelines. Findings from direct observation showed that younger people tend to use slang, foreign terms, and abbreviations th

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32

Hoar, Peter. "Editorial." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (December 1, 2017): 2–3. http://dx.doi.org/10.24135/backstory.vi2.18.

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Kia ora and welcome to the second issue of BackStory. The members of the Backstory Editorial Team were gratified by the encouraging response to the first issue of the journal. We hope that our currentreaders enjoy our new issue and that it will bring others to share our interest in and enjoyment of the surprisingly varied backstories of New Zealand’s art, media, and design history. This issue takes in a wide variety of topics. Imogen Van Pierce explores the controversy around the Hundertwasser Art Centre and Wairau Māori Art Gallery to be developed in Whangarei. This project has generate

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Godfrey, Sima. "La Guerre de Crimée n’aura pas lieu." French Cultural Studies 27, no. 1 (2016): 3–19. http://dx.doi.org/10.1177/0957155815617117.

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Иванова, Анна. "Криминальная культура как детерминанта преступности". Всероссийский криминологический журнал 10, № 4 (2016): 671–81. http://dx.doi.org/10.17150/2500-4255.2016.10(4).671-681.

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35

Karsenti, Bruno. "La marque et le crible." Les Temps Modernes 689, no. 3 (2016): 55. http://dx.doi.org/10.3917/ltm.689.0055.

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36

de Gliniasty, Jean. "Relations franco-russes : la culture, ce qui reste après l’orage ?" Revue internationale et stratégique N° 115, no. 3 (2019): 18–26. http://dx.doi.org/10.3917/ris.115.0018.

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La France a entretenu un partenariat commercial, culturel et parfois stratégique avec la Russie depuis le XI e siècle. Mais depuis le XVII e siècle, la culture demeure la seule dimension permanente, celle qui a survécu aux nombreuses vicissitudes politiques (guerres napoléoniennes, guerre de Crimée, guerre froide) et qui reste vivante en toutes circonstances. Actuellement, même si les relations bilatérales sont au plus bas sur les plans stratégiques et économiques, le lien culturel continue d’être le socle d’une relation spécifique qui résiste curieusement aux tensions politiques et aux sancti

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Reis, Maria Amelia de Souza. "Sexual education and personal and cultural patrominy: crisis and criticism; the doxa and the paradox." Revista Estudos do Século XX, no. 10 (2010): 213–30. http://dx.doi.org/10.14195/1647-8622_10_13.

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38

Viana, Mônica Martins de Oliveira, and Gastão Wagner de Sousa Campos. "Global health crisis: research, learning and building an institutional culture to constantly strengthen PHC." Ciência & Saúde Coletiva 28, no. 12 (2023): 3424. http://dx.doi.org/10.1590/1413-812320232812.15922023en.

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39

Hu, Yang. "少数民族文化与罪刑法定". Academic Frontiers Publishing Group 1, № 4 (2024): 80–87. https://doi.org/10.62989/jss.2024.1.4.80.

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本研究旨在探讨少数民族承担刑事责任的宽缓化政策与刑法面前人人平等原则的法理关系和适用方法。通过文献资料分析法和案例分析法，结合法律规定，揭示少数民族文化和刑法原则的辩证关系。研究发现，少数民族地区的刑法变通不违反罪刑法定和法律面前人人平等原则。在此基础上，研究提出了进一步协调少数民族文化习俗与犯罪处罚范围的建议，包括对基于习俗实施的身体伤害行为调低刑罚配置，限制暴力干涉婚姻自由罪的处罚，以推动刑事法治进一步完善。这些发现对于深化理解刑法变通规则，促进少数民族刑事责任分配的公平性和科学性具有重要意义。

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Attardo, Salvatore. "Humor in The Age of The Internet: The Case of Transmedial Humor." Traduction et Langues 23, no. 2 (2024): 22–33. http://dx.doi.org/10.52919/translang.v23i2.991.

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The paper discusses the changes in humor that have occurred since the advent of the internet, in the past quarter of a century. The cognitive mechanisms that produce humor have not changed. However, since 2000, roughly when the Internet 2.0 (social web) is said to have started, there have been some minor changes at the level of slang, and especially the introduction of emojis, emoticons, and emotes. At the discursive level, the introduction of large group conversations (polylogues) is a major difference. Internet humor tends to be short. Probably the most significant innovation of humor since

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Cohen, William B., and Jean-Luc Vellut. "Un Centenaire: 1885-1985. Les Relations Europe-Afrique au Crible d'Une Commemoration." International Journal of African Historical Studies 27, no. 2 (1994): 450. http://dx.doi.org/10.2307/221070.

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Angelina, Stanojoska, and Jurtoska Julija. "Ladies or Criminals: An Exploratory Study of Patterns of Female Criminality in the Republic of Macedonia." International Journal of Criminal Justice Sciences 13, no. 1 (2018): 147–63. https://doi.org/10.5281/zenodo.1403412.

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Women, as well as in many other aspects of society, also in the area of criminological research have been evaded and poorly researched. The patterns of women’s criminality are a reflection of their social and cultural position. In most cases women commit crimes because they are pushed on the margins of society, trying to find the best solutions for their suppressed lives. This paper makes an analysis of women’s criminality in Republic of Macedonia, using data from the State Statistical Office covering the period between 1995 and 2015. It analyses the most important characteristics,

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BILENKO, Pavlo. "CERTAIN ASPECTS OF VIOLENCE CRIME DETERMINATION." SCIENTIFIC ANNALS of the Academy "Stefan cel Mare" of the Ministry of Internal Affairs of the Republic of Moldova. Legal sciences 11 (October 7, 2020): 139–49. https://doi.org/10.5281/zenodo.4071298.

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This article is concerning on certain aspects of general concept of violence crime determination. The definition of determination has been analyzed; it was suggested to define it as complex of social phenomena, processes, events which promote crime by their combined action. The conclusion is substantiated that the determinants of the violent crime speak of socio-economic, moral-psychological, cultural-educational, organizational-managerial and family-household contradictions, increase social tension and conflicts among the population.  

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Cadot, Michel. "Exil et poésie : la Crimée de Puškin et de Mickiewicz." Revue des études slaves 59, no. 1 (1987): 141–55. http://dx.doi.org/10.3406/slave.1987.5619.

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Cervi, Laura. "TikTok Use in Municipal Elections: From Candidate-Majors to Influencer-Politicians." Más Poder Local, no. 53 (July 28, 2023): 8–29. http://dx.doi.org/10.56151/maspoderlocal.175.

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TikTok is without any doubt the most successful social network among Gen Zers and, consequently, is increasingly becoming their preferred place to discuss, share opinions, rally around social issues, and express political alignments. Accordingly, both politicians and political parties around the world are joining the platform to connect with young voters: previous exploratory studies, however, have shown that most political actors struggle to adapt to the platform’s affordances, appearing cringy, out of touch, or simply using TikTok as an «old medium», without utilizing it to enhance interacti

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Khasanovna, Aripova Aziza. "THE ROLE OF COMMUNICATION CULTURE IN THE FIELD OF CRIME PREVENTION AND PUBLIC SAFETY." American Journal of Political Science Law and Criminology 04, no. 02 (2022): 31–37. http://dx.doi.org/10.37547/tajpslc/volume04issue02-06.

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Communication culture is an important factor in crime prevention and public safety. The use of the basic concepts of deontology and communicative culture by representatives of the above-mentioned sphere in the process of communication is a good solution in communicative activities with citizens. A specialist working in the field of crime prevention must master the theoretical elements of communication, work on the practice of speech competence and always be able to involve the public in his speech. The article describes the features of the social orientation of this area, as well as its lingui

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Lyon-Caen, Boris. "« L'énonciation piétonnière ». Le boulevard au crible de l'Étude de moeurs (1821-1867)." Romantisme 36, no. 134 (2006): 19–31. http://dx.doi.org/10.3406/roman.2006.6426.

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Penildon, Silva Filho. "O MARXISMO NO SÉCULO XXI: DESAFIOS AMBIENTAIS, CULTURAIS E DE PARADIGMA DA SOCIEDADE." Revista Eletrônica Multidisciplinar de Investigação Científica v2. n.7, no. 09/08/2023 (2023): 15. https://doi.org/10.56166/remici.238v2n7560.

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O Socialismo é um projeto em construção, reconstrução, aprimoramento e reinvenção. As diversas experiências nos movimentos socialistas do século XIX e nos países que fizeram revoluções no século XX, União Soviética, China, Cuba, Angola, Moçambique, Vietnam e outros indicam a necessidade de um sistema que garanta a igualdade social, o planejamento estatal da economia, a paz, a libertação das antigas colônias e a autodeterminação dos povos. Uma das prin

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Balivet, Michel, and Homa Lessan Pezechki. "Seldjukides de Rūm contre Horde d’Or : l’expédition de Crimée d’après Ibn Bībī (vers 1225)." Revue des mondes musulmans et de la Méditerranée, no. 143 (October 1, 2018): 143. http://dx.doi.org/10.4000/remmm.11306.

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Raffi, Maria Emanuela. "Jean-François Fournier, La mort au crible de l’humour dans “Les morts bizarres” de Jean Richepin." Studi Francesi, no. 169 (LVII | I) (April 1, 2013): 203. http://dx.doi.org/10.4000/studifrancesi.3506.

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